Further Reading: Secondary Sources


Anglo, Sydney. “The Barriers: From Combat to Dance (Almost).” Dance Research 25, no. 2 (2007): 91-106. https://doi.org/10.3366/drs.2007.25.2.91.

Arcangeli, Alessandro. Recreation in the Renaissance. New York: Palgrave Macmillan, 2003.

_____. “Dance under Trial: The Moral Debate 1200-1600.” Dance Research 12, no. 2 (1994): 127-155.

Barish, Jonas. The Antitheatrical Prejudice. Berkeley, CA: University of California Press, 1981.

Barlow, Jeremy. A Dance through Time: Images of Western Social Dancing from the Middle Ages to Modern Times. Oxford: Bodleian Library, 2012.

Belsey, Catherine. Shakespeare and the Loss of Eden: The Construction of Family Values in Early Modern Culture. Basingstoke: Palgrave Macmillan, 1999.

Béhar, Pierre, and Helen Watanabe O’Kelly, eds. Spectaculum Europaeum: Theatre and Spectacle in Europe. Wiesbaden: Harrassowitz, 1999.

Borys, P. A. M. “Historical Changes in Morris Costume and Sponsorship.” American Morris Newsletter 14, no. 3 (1990): 7-15.

Brainard, Ingrid. “New Dances for the Ball: The Annual Collections of France and England in the 18th Century.” Early Music 14, no. 2 (1986): 164-174.

Brooks, Lynn Matluck. The Art of Dancing in Seventeenth-Century Spain: Juan de Esquivel Navarro and His World. London: Associated University Presses, 2003.

_____, ed. Women’s Work: Making Dance in Europe Before 1800. Studies in Dance History. Madison, WI: University of Wisconsin Press, 2008.

Brown, Sarah, Robert Lublin, and Lynsey McCulloch, eds. Reinventing the Renaissance: Shakespeare and his Contemporaries in Adaptation and Performance. New York: Palgrave MacMillan, 2013.

Bryson, Anna. “The Rhetoric of Status: Gesture, Demeanour and the Image of the Gentleman in Sixteenth- and Seventeenth-Century England.” In Renaissance Bodies: The Human Figure in English Culture c. 1540-1660, edited by Lucy Gent and Nigel Llewellyn, pp. 136-153. London: Reaktion Books, 1990, 1995.

Buckley, Ann, and Cynthia J. Cyrus, eds. Music, Dance, and Society: Medieval and Renaissance Studies in Memory of Ingrid G. Brainard. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2011.

Burden, Michael. “To repeat (or not to repeat)?: Dance Cues in Restoration English Opera.” Early Music 35, no. 3 (2007): 397-418.

Burke, Peter. The Fortunes of the Courtier: The European Reception of Castiglione’s Cortegiano. University Park, PA: Pennsylvania State University Press, 1996.

Butler, Martin. Theatre and Crisis, 1632-1640. Cambridge: Cambridge University Press, 1984.

Canova-Green, Marie-Claude. “From Tragicomedy to Epic: The Court Ballets of Desmarets de Saint-Sorlin.” Dance Research 25, no. 2 (2007): 156-166. https://doi.org/10.3366/drs.2007.25.2.156.

Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Clarendon Press, 1923.

Chappell, William. Popular Music of the Olden Time: A Collection of Ancient Songs, Ballads, and Dance Tunes Illustrative of the National Music of England. 2 vols. London, 1859.

Clement, Jennifer. “Beyond Shakespeare: early modern adaptation studies and its potential.” Literature Compass 10.9 (2013): 677-687.

Clive, H. P. “The Calvinists and the Question of Dancing in the 16th Century.” Bibliothèque d’Humanisme et Renaissance 23, no. 2 (1961): 296-323.

Coffey, John, and Paul C. H. Lim, eds. The Cambridge Companion to Puritanism. Cambridge: Cambridge University Press, 2008.

Cohen, Selma Jeanne, ed. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. 6 vols. New York: Oxford University Press, 1998.

Corrsin, Stephen D. Sword Dancing in Europe: A History. Enfield Lock, Middlesex: Hisarlik Press, 1997.

Crisp, Clement. “Into the Labyrinth: Kenneth MacMillan and his Ballets.” Dance Research 25, no. 2 (2007): 188-195. https://doi.org/10.3366/drs.2007.25.2.188.

Cross, Gary. A Social History of Leisure Since 1600. State College, PA: Venture Publishing, Inc., 1990.

Dean-Smith, Margaret, and E. J. Nicol. “‘The Dancing Master’: 1651-1728: Part II. Country Dance and Revelry before 1651.” Journal of the English Folk Dance and Song Society 4, no. 5 (1944): 167-179.

Dennison, James T. The Market Day of the Soul: The Puritan Doctrine of the Sabbath in England, 1532-1700. Lanham, MD: University Press of America, 1983.

Dessen, Alan, and Leslie Thomson. A Dictionary of Stage Directions in English Drama, 1580-1642. Cambridge: Cambridge University Press, 1999.

Dolmetsch Historical Dance Society. Tudors and Stuarts: Dances of Court and Country from the time of Elizabeth I and James I. 2nd ed. Berkhamsted, Hertfordshire: DHDS Publications, 2007.

Dolmetsch, Mabel. Dances of England and France from 1450 to 1600: With their Music and Authentic Manner of Performance. New York: De Capo Press, 1949, 1975.

Dutton, Richard. Shakespeare, Court Dramatist. Oxford: Oxford University Press, 2016.

Es, Bart van. Shakespeare in Company. Oxford: Oxford University Press, 2013.

Fallows, David. “The Gresley Dance Collection, c.1500.” Royal Musical Association Research Chronicle 29 (1996): 1-20.

Finkelpearl, Philip. John Marston of the Middle Temple: An Elizabethan Dramatist in His Social Setting. Cambridge, MA: Harvard University Press, 1969.

Fiorato, Sidia, and John Drakakis, eds. Performing the Renaissance Body: Essays on Drama, Law, and Representation. Berlin: DeGruyter, 2016. Includes “Introduction: Performances, Regulations and Negotiations of the Renaissance Body. Legal and Social Perspectives,” pp. 1-26, and “The Performance of the Queen Consort’s Sovereignty: Queen Anna of Denmark,” pp. 247-272.

Forrest, John. The History of Morris Dancing, 1458-1750. Toronto: University of Toronto Press, 1999.

Foster, Susan Leigh, ed. Choreographing History. Bloomington: Indiana University Press, 1995.

Franko, Mark. Dance as Text: Ideologies of the Baroque Body. Cambridge: Cambridge University Press, 1993.

_____. The Dancing Body in Renaissance Choreography, c. 1416-1589. Birmingham, AL: Summa Publications, 1986.

_____. “Fragment of the Sovereign as Hermaphrodite: Time, History, and the Exception in Le Ballet de Madame.” Dance Research 25, no. 2 (2007): 119-133. https://doi.org/10.3366/drs.2007.25.2.119.

Gair, Reavley. The Children of Paul’s: The Story of a Theatre Company, 1553-1608. Cambridge: Cambridge University Press, 1982.

Goellner, Ellen W., and Jacqueline Shea Murphy, eds. Bodies of the Text: Dance as Theory, Literature as Dance. New Brunswick: Rutgers University Press, 1995.

Goring, Jeremy. Godly Exercises or the Devil’s Dance? Puritanism and Popular Culture in Pre-Civil War England. London: Dr. William’s Trust, 1983.

Gough, Melinda. “The Advent of Women Players and Playwrights in Early Modern France,” with Perry Gethner. Renaissance Drama 44, no. 2 (Fall 2016): 217-232.

_____. Dancing Queen: Marie de Médicis’ Ballets at the Court of Henri IV. Toronto: University of Toronto Press, 2019.

_____.“‘Honny-dewed tongues of harlots’: Circe and the Sirens in Renaissance encyclopedias and mythographic compendiums” (translated as “Circe y las Sirenas en las Mitografías y Enciclopedias del Renacimento”). El libro de las sirenas, ed. J. M. Pedrosa, pp. 129-148. Almería: Exco. Ayuntamiento de Roquetas de Mar, 2002.

_____. “Introduction: Gender, Cultural Mobility, and Theater History Inquiry.” with Clare McManus. Renaissance Drama 44, no. 2 (Fall 2016): 187-200.

_____. “Marie de Medici’s 1605 ballet de la reine and the virtuosic female voice,” Early Modern Women: An Interdisciplinary Journal 7 (2012): 127-156.

_____. “Marie de Medici’s 1605 ballet de la reine: new evidence and analysis.” Early Theatre 15, no. 1 (2012): 109-144.

_____. “Tasso’s enchantress, Tasso’s captive woman.” Renaissance Quarterly 54, no. 2 (Spring 2001): 523-52.

_____. “Women’s Popular Culture? Teaching the Swetnam controversy.” In Debating Gender in Early Modern England, ed. Cristina Malcolmson and Mihoko Suzuki, pp. 79-100. New York: Palgrave, 2002. Republished in Literature Criticism from 1400 to 1800 (Gale 2011).

Gurr, Andrew. Playgoing in Shakespeare’s London, 2nd ed. Cambridge: Cambridge University Press, 1996.

_____. The Shakespearean Playing Companies. Oxford: Clarendon Press, 1996.

Heiter, Gerrit Berenike. “Material Matters: The Representation of Choreographic Events in 17th-Century Festival Books and Court Ballet Programs.” In Dance Studies Association Conference Proceedings (19-22 October 2017), compiled by Jens Giersdorf and Kayla White, pp. 153-172. Dance Studies Association, 2017.

Hirsch, Brett D. “Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux?” Early Theatre 16, no. 1 (2013): 139-149.

Holman, Peter. Four and Twenty Fiddlers: The Violin at the English Court, 1540-1690. Oxford: Clarendon Press, 1993.

Howard, Jean Elizabeth. “Dancing Masters and the Production of Cosmopolitan Bodies in Caroline Town Comedy.” In Localizing Caroline Drama: Politics and Economics of the Early Modern Stage, 1625-1642, edited by Alan Farmer and Adam Zucker, pp. 183-211. New York: Palgrave Macmillan, 2006.

Hudler, Melissa. “Rapt with sweet pleasure”: The Rhetoric of Dance in Sir John Davies’ Orchestra or A Poem of Dancing. Ben Jonson Journal 25.1 (2018). Forthcoming.

_______.  Review of Renaissance Figures of Speech. Ed. Sylvia Adamson, Gavin Alexander, and Katrin Ettenhuber. Early Modern Literary Studies 15.1 (2009).

_______.  Review of Science, Literature, and Rhetoric in Early Modern England. Ed. Juliet Cummins and David Burchell. Renaissance Studies 23.3 (2009): 392-94.

_______. “The Body Speaks of Sin: The Voice of Dance in the Middle Ages.” Interdisciplinary Humanities 21.1 (2004): 20-29.

le Huray, Peter. Music and the Reformation in England, 1549-1660. Cambridge: Cambridge University Press, 1967.

Hutcheon, Linda. A Theory of Adaptation. Abingdon: Routledge, 2006.

Hutton, Ronald. The Rise and Fall of Merry England: The Ritual Year, 1400-1700. Oxford: Oxford University Press, 1994.

_____. The Stations of the Sun: A History of the Ritual Year in Britain. Oxford: Oxford University Press, 1996.

Inglehearn, Madeleine. “Swedish Sword Dances in the 16th and 17th Centuries.” Early Music 14, no. 3 (1986): 367-372.

Jensen, Phebe. Religion and Revelry in Shakespeare’s Festive World. Cambridge: Cambridge University Press, 2008.

Johnston, Alexandra, and Wim N. M. Hüsken, eds. English Parish Drama. Amsterdam: Rodopi, 1996.

Jones, Pamela. “The Editions of Cesare Negri’s Le Gratie d’Amore: Choreographic Revisions in Printed Copies.” Studi musicali 21, no. 1 (1992): 21-33.

_____. “Spectacle in Milan: Cesare Negri’s Torch Dances.” Early Music 14, no. 2 (1986): 182-196.

Kendall, G. Yvonne. “Rhythm, Meter, and ‘Tactus’ in 16th-Century Italian Court Dance: Reconstruction from a Theoretical Base.” Dance Research 8, no. 1 (1990): 3-27.

_____. “Theatre, Dance, and Music in Late Cinquecento Milan.” Early Music 32, no. 1 (2004): 74-95.

Kenley, McDowell E. “Il Mattaccino: Music and Dance of the Matachin and Its Role in Italian Comedy.” Early Music 40, no. 4 (2012): 659-670.

_____. “Mad Fools and the Praise of Folly: Matassins and the Bballets of Lully, Destouches and Campra (1660-1718).” Early Music 45, no. 3 (2017): 445-457.

Kidnie, Margaret Jane. Shakespeare and the Problem of Adaptation. Abingdon: Routledge, 2009.

Lamothe, Virginia Christy. “Dancing at a Wedding: Some Thoughts on Performance Issues in Monteverdi’s ‘Lasciate i monti’ (Orfeo, 1607).” Early Music 36, no. 4 (2008): 533-546.

Lin, Erika T. “A Witch in the Morris: Hobbyhorse Tricks and Early Modern Erotic Transformations.” In The Oxford Handbook of Dance and Theater, edited by Nadine George-Graves (Oxford: Oxford University Press, 2015), 335-361.

Major, John  M. “The Moralization of the Dance in Elyot’s Governour.” Studies in the Renaissance 5 (1958): 27-36.

Marcus, Leah. The Politics of Mirth: Jonson, Herrick, Milton, Marvell, and the Defense of Old Holiday Pastimes. Chicago: University of Chicago Press, 1986.

Marsh, Christopher. Music and Society in Early Modern England. Cambridge: Cambridge University Press, 2010.

McGee, Timothy J., ed., Improvisation in the Arts of the Middle Ages and Renaissance. Early Drama, Art, and Music Monograph Series 30. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.

  • Kendall, G. Yvonne. “Ornamentation and Improvisation in Sixteenth-Century Dance.”
  • Nevile, Jennifer. “Disorder in Order: Improvisation in Italian Choreographed Dances of the Fifteenth and Sixteenth Centuries.”
  • Sparti, Barbara. “Improvisation and Embellishment in Popular and Art Dances in Fifteenth- & Sixteenth-Century Italy.”

McGinnis, Katherine Tucker. “At Home in the ‘Casa del trombone’: A Social-Historical View of Milanese Dancing Masters.” In Proceedings of the 20th Society of Dance History Scholars Annual Conference (19-22 June 1997). Riverside, CA: Society of Dance History Scholars, 1997.

_____. “Moving in High Circles: Courts, Dance, and Dancing Masters in Italy in the Long Sixteenth Century.” PhD diss., University of North Carolina at Chapel Hill, 2001.

McGowan, Margaret M. Dance in the Renaissance: European Fashion, French Obsession. New Haven: Yale University Press, 2008.

McJannet, Linda. The Voice of Elizabethan Stage Directions: The Evolution of a Theatrical Code. Newark, DE: University of Delaware Press, 2003.

McManus, Clare, and Lucy Munro. “Renaissance Women’s Performance and the Dramatic Canon: Theater History, Evidene, and Narratives” — a special issue. Shakespeare Bulletin 33, no. 1 (2015). https://muse.jhu.edu/issue/31613.

McMillin, Scott, and Sally-Beth MacLean. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998.

Monahin, Nona. “Writing for Posterity: A Reassessment of Arbeau’s Orchésographie (1589).” In Congress on Research in Dance Conference Proceedings (13-16 November 2014), compiled by Helen Thomas, Rebekah Chappell, and Erin Donahue, pp. 125-135. Congress on Research in Dance, 2015.

Naylor, Edward W. Shakespeare and Music, with Illustrations from the Music of the 16th and 17th Centuries. London: J. M. Dent & Co., 1896.

Nevile, Jennifer. “Dance in Early Tudor England: An Italian Connection?” Early Music 26, no. 2 (1998): 230-234, 237-242, 244.

_____. The Eloquent Body: Dance and Humanist Culture in Fifteenth-Century Italy. Bloomington: Indiana University Press, 2004.

_____. “‘Rules for Design’: Beauty and Grace in Caroso’s Choreographies.” Dance Research 25, no. 2 (2007): 107-118. https://doi.org/10.3366/drs.2007.25.2.107.

_____, ed., Dance, Spectacle, and the Body Politick, 1250-1750. Bloomington, IN: Indiana University Press, 2008.

Ortiz, Joseph M. Broken Harmony: Shakespeare and the Politics of Music. Ithaca: Cornell University Press, 2011.

Parry, Caroline Balderston. “‘The Maypole is up, now give me the cup…’.” REED Newsletter 11, no. 1 (1986): 7-9.

Pennino- Baskerville, Mary. “Terpsichore Reviled: Antidance Tracts in Elizabethan England.” Sixteenth Century Journal 22, no. 3 (1991): 475-494.

Pollard, Tanya. Shakespeare’s Theater: A Sourcebook. Oxford: Blackwell Publishing, 2003.

Pugliese, Patri J. “Why Not Dolmetsch?” Dance Research 13, no. 2 (1981): 21-24.

Ranum, Patricia. “Audible Rhetoric and Mute Rhetoric: The 17th-century French Sarabande.” Early Music 14, no. 1 (1986): 22-40.

Rodgers, Amy J. A Monster with a Thousand Hands: The Discursive Spectator in Early Modern England. Philadelphia: University of Pennsylvania Press, 2018. (BookFinder)

Savage, Roger. “Rameau’s American Dancers.” Early Music 11, no. 4 (1983): 441-452.

Scolieri, Paul A. Dancing the New World: Aztecs, Spaniards, and the Choreography of Conquest. Austin: University of Texas Press, 2013.

Semenza, Gregory M. Colón. Sport, Politics, and Literature in the English Renaissance. Newark, DE: University of Delaware Press, 2003.

Semmens, Richard. “A Sorcerer’s Apprentice? John Weaver’s Comic Muse.” In Congress on Research in Dance Conference Proceedings (13-16 November 2014), compiled by Helen Thomas, Rebekah Chappell, and Erin Donahue, pp. 160-167. Congress on Research in Dance, 2015.

Smith, Judy. “The Art of Good Dancing—Noble Birth and Skilled Nonchalance. England 1580-1630.” Historical Dance 2, no. 5 (1986/7): 30-32.

Sparti, Barbara. “Antiquity as Inspiration in the Renaissance of Dance: The Classical Connection and Fifteenth-Century Italian Dance.” Dance Chronicle 16, no. 3 (1993): 373-390.

_____. “The 15th-century balli Tunes: A New Look.” Early Music 14, no. 3 (1986): 346-357.

_____. “What Can Pictures Tell Us (and Not Tell Us) about Dance? Reading Italian Renaissance Iconography.” In Proceedings of the 20th Society of Dance History Scholars Annual Conference (19-22 June 1997). Riverside, CA: Society of Dance History Scholars, 1997.

Streitberger, W. R. The Masters of the Revels and Elizabeth I’s Court Theatre. Oxford: Oxford University Press, 2016.

Sutton, Julia. “Cadential Formulae in Music and Dance in Sixteenth-Century Italy.” In Proceedings of the 20th Society of Dance History Scholars Annual Conference (19-22 June 1997). Riverside, CA: Society of Dance History Scholars, 1997.

Todd, Margo. “Profane Pastimes and the Reformed Community: The Persistence of Popular Festivities in Early Modern Scotland.” The Journal of British Studies 39, no. 2 (2000): 123-156.

Underdown, David. “‘But the Shows of their Street’: Civic Pageantry and Charivari in a Somerset Town, 1607.” Journal of British Studies 50, no. 1 (2011): 4-23.

_____. Revel, Riot, and Rebellion: Popular Politics and Culture in England 1603-1660. Oxford: Clarendon Press, 1985.

Wagner, Ann. Adversaries of Dance: From the Puritans to the Present. Urbana, IL: University of Illinois Press, 1997.

Whitlock, Keith. “John Playford’s the English Dancing Master 1650/51 as Cultural Politics.” Folk Music Journal 7, no. 5 (1999): 548-578.

Whitta, James. “Performing the Medieval Masculine Subject Through Grace.” In Dance Studies Association Conference Proceedings (5-8 July 2018), compiled by Courtney Harris, pp. 193-210. Dance Studies Association, 2018.

Winerock, Emily F. “Churchyard capers: the controversial use of church space for dancing in early modern England.” In The Sacralization of Space and Behavior in the Early Modern World: Studies and Sources, edited by Jennifer Mara DeSilva, pp. 233-256. Farnham: Ashgate, 2015.

_____. “Competitive Capers: Gender, Gentility, and Dancing in Early Modern England.” In The Oxford Handbook of Dance and Competition, edited by Sherril Dodd, pp. 66-86. Oxford University Press, 2018.

_____. “Discourteous Courtesies and Irreverent Reverences: Rethinking the Renaissance Bow.” In Dance Studies Association Conference Proceedings (5-8 July 2018), compiled by Courtney Harris, pp. 211-219. Dance Studies Association, 2018.

_____. “‘Performing’ Gender and Status on the Dance Floor in Early Modern England.” In Worth and Repute: Valuing Gender in Late Medieval and Early Modern Europe (Essays in Honour of Barbara Todd), edited by Kim Kippen and Lori Woods, pp. 449-472. Toronto: Centre for Reformation and Renaissance Studies, 2011.

_____. “Reformation and Revelry: The Practices and Politics of Dancing in Early Modern England, c.1550-c.1640.“ PhD diss., University of Toronto, 2012.

Wood, Melusine. “Some Notes on the English Country Dance before Playford.” Journal of the English Folk Dance and Song Society 3, no. 2 (1937): 93-99.

Wooding, Barbara. John Lowin and the English Theatre, 1603–1647: Acting and Cultural Politics on the Jacobean and Caroline Stage. Farnham: Ashgate, 2013.